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Luc. Basta ; & content thee; for I have it full.. We have not yet been seen in any house; Nor can we be distinguish'd by our faces, For man, or master: then it follows thus; Thou shalt be master, Tranio, in my stead, Keep house, and port, and servants, as I should: I will some other be; some Florentine, Some Neapolitan, or mean man of Pisa._ 'Tis hatch'd, and shall be fo:-Tranio, at once Uncase thee; take my colour'd hat and cloak: When Biondello comes, he waits on thee; But I will charm him first to keep his tongue.

Tra. So had you need. [They exchange habits. In brief, sir, sith it your pleasure is, And I am tied to be obedient; (For so your father charg'd me at our parting; Be serviceable to my fon, quoth he, Although, I think, 'twas in another sense,) I am content to be Lucentio. Because so well I love Lucentio.

Luc. Tranio, be so, because Lucentio loves : And let me be a slave, to achieve that maid Whose sudden sight hath thrall’d my wounded eye.

8 Bafta;] i, e. 'tis enough; Italian and Spanish. This expression occurs in The Mad Lover, and The Little French Lawyer, of Beaumont and Fletcher. Steevens.

9- I have it full.] i. e. conceive our stratagem in its full extent, I have already planned the whole of it. So, in Othello :

“ I have it, 'tis engender'd " Steevens.
2 — port,] Port, is figure, show, appearance. Johnson,
So, in The Merchant of Venice:

“ 'Tis not unknown to you, Antonio,
“ How much I have disabled mine estate
“ By something showing a more swelling port

“ Than my faint means would grant continuance." Reen. 3 — or mean man of Pisa.] The old copy, regardless of metre, reads-meaner, STIEVENS,

Enter BIONDELLO.

Here comes the rogue.-Sirrah, where have you

been? Bion. Where have I been? Nay, how now, where

are you? .. Master, has my fellow Tranio stol’n your clothes ? Or you stol’n his? or both? pray, what's the news?

Luc. Sirrah, come hither; 'tis no time to jest, And therefore frame your manners to the time. Your fellow Tranio here, to save my life, Puts my apparel and my countenance on, And I for my escape have put on his; For in a quarrel, since I came ashore, I kill'd a man, and fear I was descried : 2 Wait you on him, I charge you, as becomes, While I make way from hence to fave my life: You understand me? Bion.

I, fir? ne'er a whit. Luc. And not a jot of Tranio in your mouth; Tranio is chang'd into Lucentio. Bion. The better for him; 'Would, I were fo

too! Tra. So would 1,3 'faith, boy, to have the next

wish after, That Lucentio indeed had Baptista's youngest

daughter.

: - and fear I was descried:] i. c. I fear I was observ'd in the act of killing him. The editor of the third folio reads I am descried; which has been adopted by the modern editors.

MALONE. 3 So would 1,] The old copy has—could. Corrected by Ms. Rowe. MALONE.

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But, firrah,—not for my fake, but your master's,–

I advise You use your manners discreetly in all kind of com

panies : When I am alone, why, then I am Tranio; But in all places else, your master - Lucentio.

Luc. Tranio, let's go :One thing more rests, that thyself execute ;To make one among these wooers: If thou ask me

why, Sufficeth, my reasons are both good and weighty.s

[Exeunt. i Serv. My lord, you nod; you do not mind the play.

Sly. Yes, by faint Anne, do 1. A good matter, surely; Comes there any more of it?

Page. My lord, 'tis but begun.

Sly. 'Tis a very excellent piece of work, madam lady; 'Would't were done!

4 your master--] Old copy-you master. Corrected by the editor of the second folio. MALONE.

s good and weighty.) The division for the second act of this play is neither marked in the folio nor quarto editions. Shakspeare seems to have meant the first act to conclude here, where the speeches of the Tinker are introduced; though they have been hitherto thrown to the end of the first act, according to a modern and arbitrary regulation. Steevens.

6 Exeunt.] Here in the old copy we have" The Presenters above speak,” meaning Sly, &c. who were placed in a balcony raised at the back of the stage. After the words“ Would it were done,” the marginal direction is—They fit and mark.

MALONE.

SCENE II.

The same.

Before Hortensio's House.

Enter Petruchio and GRUMIO.

Pet. Verona, for a while I take my leave, To see my friends in Padua; but, of all, My best beloved and approved friend, Hortensio; and, I trow, this is his house :Here, firrah Grumio; knock, I say.

Gru. Knock, fir! whom should I knock? is there any man has rebus'd your worship? 6

Per. Villain, I say, knock me here foundly. Gru. Knock you here,' sir? why, fir, what am I, fir, that I should knock you here, sir?

Per. Villain, I say, knock me at this gate, And rap me well, or I'll knock your knave's pate. Gru. My master is grown quarrelsome: I should

knock you first, And then I know after who comes by the worst.

Per. Will it not be? 'Faith, firrah, an you'll not knock, I'll wring it; I'll try how you can fol, fa, and sing it.

[He wrings GRUMIO by the ears.

oc has rebus'd your worship? What is the meaning of rebus'd? or is it a false print for abusd? TYRwhitt.

7 Knock jou here,] Grumio's pretensions to wit have a strong resemblance to those of Dromio in The Comedy of Errors; and this circumstance makes it the more probable that these two plays were written at no great distance of time from each other.

MALONE, 8 — wring it;] Here seems to be a quibble between ringing at a door, and wringing a man's ears, STEVENS.

Gru. Help, masters," help! my master is mad. Per. Now knock when I bid you : sirrah! vil.

lain!

Enter HortenSIO.

Hor. How now? what's the matter?-My old friend Grumio! and my good friend Petruchio! How do you all at Verona ? Pet. Signior Hortensio, come you to part the

fray? Con tutto il core bene trovato, may I say.

Hor. Alla nostra casa bene venuto, Molto honorato signor mio Petruchio. Rise, Grumio, rise; we will compound this quarrel.

Gru. Nay, 'tis no matter, what he 'leges in Latin,”-If this be not a lawful cause for me to

9 Help, masters,] The old copy reads-here; and in several other places in this play mistress, instead of masters. Corrected by Mr. Theobald. In the Mfs. of our author's age M was the common abbreviation of Master and Mistress. Hence the mistake. See The Merchant of Venice, Act V, 1600, and 1623: • What ho, M. (Master] Lorenzo, and M. [Mistress ] Lorenzo,”

MALONE. 2 - what he 'leges in Latin.] i.e. I suppose, what he alleges in Latin. Petruchio has been just speaking Italian to Hortensio, which Gruinio mistakes for the other language. Steevens.

I cannot help suspecting that we should read-Nay, 'tis no matter what be leges in Latin, if this be not a lawful caule for me to leave his service. Look you, fir.—That is, “ 'Tis no matter what is law, if this be not a lawful cause,” &c. TYRWHITT. · Tyrwhitt's amendment and explanation of this passage is evidently right. Mr. Steevens appears to have been a little absent when he wrote his note on it. He forgot that Italian was Grumio's native language, and that therefore he could not possibly mistake it for Latin. M. MASON.

I am grateful to Mr. M. Mason for his hint, which may prove beneficial to me on some future occasion, though at the present

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